[Robin Probyn]

You must how some very laid back directors 🙂 but most wouldnt trust their master piece to a local PA… !!! and the far flung destinations they dont exist anyway.

Its another hurdle… you can get people to help lump the box,s around etc.. but to be responsible for everything you,ve shot is another deal completely.You want someone you know and really trust.. as you would a loader on film.. where you,re only going to lose 10mins on an opened mag.,let alone hrs of stuff.

If Panasonic make a huge loss on the cards,then I think P2 would rule the world deservedly so.. as it is yes I agree … drama/cheaper features/ad,s … nice controlled environment P2 is great.

[Robin Probyn]

Regarding P2 cameras not being good choices for documentary work, as long as their is a chance to do transfers at the end of a shoot day,

Yep thats the big sticking point..as far as I see it… down loading in the field is often impossible.. so its a back at the hotel thing.But few camera people want to do this at the the end of the ever increasing daily hrs! we also tried and prone to make mistakes.. and its not our job either. Iam all for having a cam asist but those days are also few and far between these days if it involves their rate ,extra airfares ,hotels etc.
One of the first things to go when video came in!

Until a P2 card can be treated as a tape or disc,meaning priced the same or close..I cant see it working?

[Robin Probyn]

So doesnt the Sony PDW800 now look to be the camera of choice for doc/run and gun/current affair/news.. and archive is already there ..DVD better than tape..
Iam an HDX900 owner and love the beast,wish I had bought it earlier.. ofcourse tape is on the way out but lets face it P2 just isnt any good for doc work… its not going to happen.. and RED even less so.
Maybe the markets will fracture.. but all the BBC/Natgeo/History channel/Discovery stuff that keeps shoes on my kids feet.will be fine with PDW800..

Iam not biased to Sony or Pana.. I have the HDX900 and trusty Digibeta 790… but for doc work the XDCAM 800 looks like a winner to me..

[Robin Probyn]

The kino,s are only small ones.. 20w 4 bank.. too small to really do much on the back wall.. the over heads are pretty much lighting the whole thing very evenly and I think would be ok for a key as it is.

The 2ks through silk,or may just bounce them.. will be very soft.. for the closer shot Iam thinking to switch off the big over heads.. and light it as a straight forward head and shoulders interview.. with the one kino as a key.. make it more moody.. it isnt being keyed into an actual background plate.. so lighting continuity isnt a problem.

What do you think?

[Robin Probyn]

checked out studio at last.will go tungsten as their over head soft lights are tungsten. couple of 2 ks for the back wall though silks.5k key.. 2k back/side light..

Kino,s for close ups..

Thanks

[Robin Probyn]

How do you deal with having to light the floor(so to speak) if no grid above.Just flood it with huge soft key?and fill?

[Robin Probyn]

Guess I was worried about not having enough firepower… studio is big so can back them off..

Do you think 2 X 575,s would be strong enough through silks.. for the back screen.. 1.2 for the key light on the hero,and floor through silk.. 575 as back/side light..

I will have flags for spill..

Thanks

[Robin Probyn]

Hi Denis

I thought to cross light the screen with 2 X 1.2 HMI.s through as big as silks the studio has.I,ll have to have the floor lit too,as the hero walks on and then looks to camera(not much moving around)

So not a virtual set,but have to light head to toe..

Any thoughts..?

Thanks

[Robin Probyn]

Thanks Denis

Yes the HMI,s will be through silks,or diffusion frames.. like the idea of the 1/8 CTO for the hero..

Many thanks

[Robin Probyn]

Well it was a question about Green screen in post.. you might just want to have a nice cool drink..

peace and love